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Maria Kranidis
ENGL 864
Dr. Williamson
Inheritance of Aesthics
When presented with Corinne’s abandon gifts of talent one wonders how long she can provide for her audience what they need and expect form her. There is a sense of a specific kind of giving that is transcended in the novel which is compromised or even sacrificed with the potential of not practicing some other parts of social activity in order to produce and create ion an aesthetic creative space. Corinne’s lost potential in having a family and a home, are not consciousness decisions by her. The desire to love a man whose identity and personality she has fictionalized on her own becomes clear that is not sufficient for creative purposes. (I will return to this idea at a different time). Her love for him seems to drain the ability to create art that would inspire more art; instead it sterilizes the well of thought and feeling and enthusiasm. Corinne’s body without love, without art becomes a sterile ground where inheritance of the art is her main concern. She does not have an offspring to pass on the gift; therefore she tries to educate the passion to her niece.
Stael creates a space in her novel where the artist woman will provide for the world differently than the domestic woman whose creations are compromised by the dogmatic practices of society. The identity of the woman artist of divine existence filled with plentitude opportunity but knows that this has to come to an end. Just like you the and beauty art runs out of time and so the artist mourns the loss of the gift before she even considers her broken heart in connection to Oswald. The role of the widow becomes important in the novel because it reflects on a new final invention of the self. Corinne mourns her previous self. She then retreats to the private, isolated world of memory where nothing new can happen, where imagination becomes an echo, not a voice. “I miss what I was; that is all. I used to take pride in my talent” Corinne tells Oswald ( Stael 268). After she has been alone for awhile she says, “I felt my mind slipping away” (269).
Properzia Rossi in her poem to the undeserving lover also sees a lost potential for true love. The matters of the heart go empty “Let me pour my soul away!” (L 3). But this poet hope that her creativity will outlast her without inheritance, she hopes that “something... may speak to you when I am gone ( L11). This moving away from love or from the source of creation always concerns the artist of the affects and the impact of the art. The creation for the woman artist becomes a birth a lineage of inheritance that she hope will remain after she is gone. “I might have kindled with the fire of heaven/ things not of such as die!” (L 68-69). In the creation process the body becomes unimportant. The mind and the heart are the resources for creation. And when love has failed to inspire more art in the heart of the artist, Rosssi hopes that “It comes back, the power within me born flows back; my fruitless dower….I shall not perish all!” (L 28-32). The perishing happens when there is no reception of the gift. No acceptance. That’s when “suffering becomes an oracle” for Corinne. (Stael 271). Here the artist foretells her own end. When passion runs out, love and art perish.
Maria Kranidis
ENGL 864
Dr. Williamson
Inheritance of Aesthics
When presented with Corinne’s abandon gifts of talent one wonders how long she can provide for her audience what they need and expect form her. There is a sense of a specific kind of giving that is transcended in the novel which is compromised or even sacrificed with the potential of not practicing some other parts of social activity in order to produce and create ion an aesthetic creative space. Corinne’s lost potential in having a family and a home, are not consciousness decisions by her. The desire to love a man whose identity and personality she has fictionalized on her own becomes clear that is not sufficient for creative purposes. (I will return to this idea at a different time). Her love for him seems to drain the ability to create art that would inspire more art; instead it sterilizes the well of thought and feeling and enthusiasm. Corinne’s body without love, without art becomes a sterile ground where inheritance of the art is her main concern. She does not have an offspring to pass on the gift; therefore she tries to educate the passion to her niece.
Stael creates a space in her novel where the artist woman will provide for the world differently than the domestic woman whose creations are compromised by the dogmatic practices of society. The identity of the woman artist of divine existence filled with plentitude opportunity but knows that this has to come to an end. Just like you the and beauty art runs out of time and so the artist mourns the loss of the gift before she even considers her broken heart in connection to Oswald. The role of the widow becomes important in the novel because it reflects on a new final invention of the self. Corinne mourns her previous self. She then retreats to the private, isolated world of memory where nothing new can happen, where imagination becomes an echo, not a voice. “I miss what I was; that is all. I used to take pride in my talent” Corinne tells Oswald ( Stael 268). After she has been alone for awhile she says, “I felt my mind slipping away” (269).
Properzia Rossi in her poem to the undeserving lover also sees a lost potential for true love. The matters of the heart go empty “Let me pour my soul away!” (L 3). But this poet hope that her creativity will outlast her without inheritance, she hopes that “something... may speak to you when I am gone ( L11). This moving away from love or from the source of creation always concerns the artist of the affects and the impact of the art. The creation for the woman artist becomes a birth a lineage of inheritance that she hope will remain after she is gone. “I might have kindled with the fire of heaven/ things not of such as die!” (L 68-69). In the creation process the body becomes unimportant. The mind and the heart are the resources for creation. And when love has failed to inspire more art in the heart of the artist, Rosssi hopes that “It comes back, the power within me born flows back; my fruitless dower….I shall not perish all!” (L 28-32). The perishing happens when there is no reception of the gift. No acceptance. That’s when “suffering becomes an oracle” for Corinne. (Stael 271). Here the artist foretells her own end. When passion runs out, love and art perish.